Across much of Al Saralis’ recent work, a single motif appears: a woman, alone, in a moment of stillness. Rarely is a second figure in the frame, and rarely is the setting detailed enough to explain where she is or what she is waiting for. We explore why Al returns to this subject so often, and what the solitary figure allows him to do that a crowded composition cannot.
Al Saralis at Work
Al describes himself as more of a figurative painter than a realist, where he dismisses exact likeness in favour of emotional connection. He also works with a deliberately small number of models. Britt, Saskia, and Emily are his muses, each appearing across several pieces, and this repetition is not incidental. Returning to these familiar faces lets Al explore mood and gesture in greater depth with each new painting, which add to a body of work more akin to an ongoing study than a series of separate portraits. Each in different angles. Different states of mind.
Why the Solitary Figure?
The solitary female figure has a long history in painting - particularly in work influenced by famous artists such as Edward Hopper, whose subjects are often alone, turned away from the viewer or gazing out of a window.
What this tradition demonstrates, and what Al Saralis’ work continues, is that we can’t automatically read a figure alone on a canvas as lonely. When removed from any narrative or company, she instead reads as self-contained. The subject is present with her own thoughts - not simply waiting for someone else to join her.
Through this lens, we can see how this is a useful device: with no second figure or obvious story, we’re forced to project our own thoughts. It creates the conditions for you to arrive at a reading of your own. How does it make you feel?
In earlier figurative traditions, solitude is used to highlight isolation, where a lone woman is usually positioned as a subject of pity or longing. Rather than waiting for rescue or company, Al’s figures are simply occupied elsewhere. These are contemplative paintings, not melancholy ones - unless you want them to be.
Reading the Paintings
You can view our collection of Al Saralis paintings at Hancock Art Gallery, featuring works such as:
The Small Study Series
Featuring Britt, Emily, and Saskia, Small Study is a 30 x 30 cm oil painting series on circular boards, offering the same emotive impact as Al Saralis’s larger works but in a more intimate scale. The smaller format creates the feeling of a personal window into a quiet moment, making it an ideal piece for any space, effortlessly fitting into a home without demanding large wall space.
Out Of The Shade I
Out Of The Shade I is an evocative oil painting that invites open interpretation. A solitary female figure raises her hand to shield her eyes from the sun, set against a vibrant turquoise backdrop that contrasts with the warm tones of the figure. The unplaceable setting leaves space for the viewer’s imagination to shape the narrative; who she is, what she sees and what moment she inhabits.
Figura Seduta III
Figura Seduta III is a large-scale oil on canvas by Al Saralis, measuring 150 x 140 cm, presenting a striking, larger-than-life portrayal of a woman wearing a flowing, vibrant red gown. Saralis’ signature style shines through in the abstraction of the background, where negative space contrasts with the finely detailed features of the woman as she gazes directly at the viewer. Her wispy blonde hair and soft skin tones provide a delicate counterpoint to the dramatic, bold pink and red hues surrounding her.
If you'd like to explore our full collection of Al Saralis oil paintings, enquire with us today or visit Hancock Gallery if you live locally.
